I’m worried I’m tired. The last time I watched Versus, I gave it one. This time I give it three. There’s a slight difference in the version I watched–this time I watched the “Ultimate Version,” which has about the same running time, but ten minutes of reshot scenes. I guess there were some music changes, which might have to do with the incredible quality bump. It’s such a fantastic experience–Kitamura’s direction is beautiful, the editing–between circling shots and tightly cut fight scenes–wonderful stuff. Versus is a boring kung fu zombie movie, absolutely in love with what the camera can do. As far as self-indulgent projects go, it’s near the best.

For the first hour and change, there’s almost no story beyond the chase through the woods, the zombies, and the little suggestions there’s something else going on. During that hour, Matsuda Kenji rules the movie. He’s broad and funny and easily the film’s most interesting character. The hero, played by Sakaguchi Tak, is reserved, not allowed to show any feeling during the first three quarters of the film. Still, the scenes with him and the girl–Misaka Chieko, who’s good–do work; the rest of the time he’s usually killing zombies, so it’s fine.

Then Sakaki Hideo shows up, as the bad guy, and the film changes completely. Matsuda becomes a liability, an enormous mistake on Kitamura’s part, turning an amusing character into an annoying one, so annoying you feel bad you liked him in the first place. The pace speeds up, the story actually comes into existence–it’s kind of like Highlander, only with a damsel in distress (wait, Highlander had a damsel in distress… a reincarnated damsel in distress). Kitamura runs three story-lines through Versus the whole time, switching when Sakaki appears, letting him take over Matsuda’s story. There’s also the comedic story-line, which follows funny stuff more than a specific character. The comedic stuff, which leaves the main story after the first half hour, is a nice breather. There’s some really good stuff there.

But the second half of Versus is really all about Sakaki. Even when he’s doing something stupid, he’s great. His scene with Misaka, where they talk about being reincarnated or immortal or something, absolutely great. It doesn’t dwell on setting up the goofy story, which the zombies help, but only so much… Maybe all the references (like the Robocop one) distracted me and it bothered me less. I don’t know.

I do know the last fight scene is succulent, self-indulgent and a joy. It’s a long and boring fight scene, beautifully directed. Some of Versus‘s strengths lie in not being able to figure out how Kitamura can make it work the way he does. Some stuff–guys running through the forest–it works for everyone, but his approach to action scenes in this film, no one else ever does anything like he does.

I might just be tired though.

★★★

CREDITS

Directed by Kitamura Ryuhei; written by Kitamura and Yamaguchi Yudai; director of photography, Furuya Takumi; edited by Kakesu Shuichi; music by Morino Nobuhiko; produced by Nishimura Hideo; released by napalm FiLMS.

So, watching Versus, I realized a few things. First, Kitamura is probably the best action director… ever. Second, he can’t write his way out of a hat. Third, he’s also a great director of actors. Versus, for the superior first forty minutes, has a lot of characters in frame, doing a lot of things, not just action, but also just exuding personality. Kitamura does a great job with it.

It’s not just his shot construction, of course. It’s the way he moves the camera. He only does it in the first forty, but it’s a fantastic system for informing the viewer of what’s going on–where people are standing, where they’re moving. There’s so much good in Versus, which is incredibly hard to believe considering it’s described as Evil Dead meets The Matrix. Unfortunately, like I said, all that goodness is technical (some of the performances are excellent, however).

The writing falls apart, but then it breaks down more and more. Whenever Kitamura feels the pace slowing, he introduces more characters. We start with eight, which quickly becomes six, then he introduces three more, then another, then another two. The last additions are these asshole cops who are supposed to be funny, and to some degree they are–and it’s really interesting that one makes the (intentionally) geographically incorrect remark that he grew up in Yellowstone National Park in Minnesota, but the American DVD company subtitled it to Canada. Not surprising, that Japanese people have a better awareness of U.S. geography than American DVD aficionados.

Kitamura, as a writer and somewhat as a director (he keeps twirling the lead’s leather trench coat), is seemingly obsessed with “cool.” Versus is a film dictated by “wouldn’t it be cool if…” which is no way to tell a good story, but there wasn’t one anywhere in Versus, thankfully. It just got worse than it needed to get.

Had I seen Versus before Azumi, I might have shut it off (though probably not, as the opening forty are incredibly well-directed), but I certainly would never have found Azumi. Azumi is a good movie.

All Kitamura needs is a good script–which means he shouldn’t touch it.

★

CREDITS

Directed by Kitamura Ryuhei; written by Kitamura and Yamaguchi Yudai; director of photography, Furuya Takumi; edited by Kakesu Shuichi; music by Morino Nobuhiko; produced by Nishimura Hideo; released by napalm FiLMS.